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艺术对圣殿中的年轻人快乐而惊奇,而喜欢耀眼的大师。总是这样的一种情形:几百年以来大师们不停挥动手中的画笔与一种传统重力做奋力的抗争,只为重新塑给人们的一个新偶像。它新鲜,充满活力,教会人们运用自己的心灵去感知世界,让“趣味高雅”的贵族们和“低级趣味”的平民们学会另一种不同的欣赏。 在这过程中艺术家与其作品的精细关系,必须是真实的,虽然其中也有道德价值意义上的迎合。 我没能做一篇“真正”的论文,只是就我的那股强烈欲望说些什么,找到一些依据,阐明一些看法。 我顶礼膜拜的大师,诸如:提香、恩索、米罗、毕卡索、马蒂斯、诺尔德、维雅……你会认为他们是表现的画家。那么,我就得知道表现,这个第二类感知的含义,十八世纪里这个词只是象征意义上形象的表现,只是传统或风格的一种手法,而真正意义上的表现是艺术家与作品的交流,他们有着强烈的个性,于是他们作品中所表现出的内容也是个性化的于时代的传统往往是一种反叛,这伟大的反叛与真诚的关系,正如克利所说的会产生心灵的创造。
Art is happy and surprised by the young people in the Temple, and like the dazzling master. It is always the case that for centuries masters kept waving the brushes in their hands and struggling with a traditional gravity to fight hard, only to reshape the people a new idol. It is fresh and energetic, teaching people to use their own souls to perceive the world, so that “tasteful” aristocrats and “vulgar” civilians learn a different kind of appreciation. The delicate relationship between the artist and his work in this process must be real, though there is also a catechism in the sense of morality. I failed to make a “real” essay, just to say something about my strong desire to find some basis for elucidation of some opinions. I pay homage to the masters, such as: Titian, Esso, Miro, Picasso, Matisse, Nuode, Wei Ya ... ... you will think they are the performance of the painter. Then, I have to know performance, the meaning of this second type of perception. In the eighteenth century, the word was only a symbolic representation of the image, but a traditional or style one, and the real expression is that the artist and the work Exchange, they have a strong personality, so the content shown in their works is also a personalized tradition in the age is often a rebellious, this great rebellious and sincere relationship, as Cleary said will produce spiritual creation .